One Un Certain Regard selected film (Lotfy Nathan's Harka), four films headed to Venice (Arian Vazirdaftari's Without Her, Bill Pohlad's Dreamin’ Wild, Steve Buscemi's...
All the Rage: Williams Returns with a (Familiar) Vengeance
After a decade working in television, British director Paul Andrew Williams finally returns to narrative filmmaking...
A Bridge Too Far: McQueen Explores the Inherent Sacrifice of Community Service in Straightforward Drama
With Red, White and Blue, the third film in Steve...
New Year’s Evil: Wheatley Finds Humanity Amid Caustic Bickering
Shapeshifting his way along a varied filmography, Ben Wheatley is back after the tongue-in-cheek gunplay bonanza...
Scavenger’s Song: Johnson’s Chilling, Stylized Sophomore Feature
Opening with a brooding, atmospheric ambience as we drift through a throbbing drug bust set to an...
Peeping Tom: Vigalondo’s Virtual Voyeurism Thriller Too Wrapped Up in Tech
In the barest possible sense, Nacho Vigalondo’s latest film, Open Windows, can perhaps be...
The thrill of meeting Marjane Satrapi reminded me of being 6 years old at Disney Land when I met the living, breathing Cinderella. Except Cinderella was an actress with a blond wig and Marjane is the real woman behind her autobiographical graphic novel, turned movie, “Persepolis”. The distinctive mole on her nose and her dark sultry eyes rose off the page and appeared in front of me, smoking and speaking with a French accent.